Janet Loren Hill - Who doesn't love... (Oil on fabric wrapped upholstery foam and other materials, 6 ' x 6 ' x 2 ', 2020)
(Full name of work: Who doesn't love a pretty, dead, white woman above their couch? Personally, I like to listen to true crime podcasts while I work.)
Overturning the paradigm of the looked at “feminine” and “masculine” looker, I hinge my ongoing series, “I think I married the back of your head, but damn it treats me well.” on my husband, Jordan’s portrait. Casting him in romantic tropes, I use humor to critique what may be at stake through blind acceptance of repeated caricatures of love, gender and sexuality. Questioning the persistent belief that a portrait captures the essence of a person, I use exaggeration to highlight the collective socialization of desire and the murkiness of how we construct our identities in relation to our partner.
(Full name of work: Who doesn't love a pretty, dead, white woman above their couch? Personally, I like to listen to true crime podcasts while I work.)
Overturning the paradigm of the looked at “feminine” and “masculine” looker, I hinge my ongoing series, “I think I married the back of your head, but damn it treats me well.” on my husband, Jordan’s portrait. Casting him in romantic tropes, I use humor to critique what may be at stake through blind acceptance of repeated caricatures of love, gender and sexuality. Questioning the persistent belief that a portrait captures the essence of a person, I use exaggeration to highlight the collective socialization of desire and the murkiness of how we construct our identities in relation to our partner.
(Full name of work: Who doesn't love a pretty, dead, white woman above their couch? Personally, I like to listen to true crime podcasts while I work.)
Overturning the paradigm of the looked at “feminine” and “masculine” looker, I hinge my ongoing series, “I think I married the back of your head, but damn it treats me well.” on my husband, Jordan’s portrait. Casting him in romantic tropes, I use humor to critique what may be at stake through blind acceptance of repeated caricatures of love, gender and sexuality. Questioning the persistent belief that a portrait captures the essence of a person, I use exaggeration to highlight the collective socialization of desire and the murkiness of how we construct our identities in relation to our partner.